The 2015 Serpentine Gallery Pavilion, and its 14 predecessors

2018 – Frida Escobedo: The dark latticed walls of Escobedo’s pavilion are intended as a play on the celosia – a common trope in Mexican architecture that allows breeze to flow through buildings. A café sits at one end, while a shallow pool of water runs on one long side, adding to the overall serene atmosphere

2018 – Frida Escobedo: The dark latticed walls of Escobedo’s pavilion are intended as a play on the celosia – a common trope in Mexican architecture that allows breeze to flow through buildings. A café sits at one end, while a shallow pool of water runs on one long side, adding to the overall serene atmosphere

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The pavilion’s pivoted axis aligns with the Prime Meridian line that was established in Greenwich, London in 1851 and later became the global standard for marking time and geographical distance

The pavilion’s pivoted axis aligns with the Prime Meridian line that was established in Greenwich, London in 1851 and later became the global standard for marking time and geographical distance

Escobedo considered the final installation site of her pavilion, focusing on time, temporality and personal experience during the design process. Inspired by La Mezquita [The Mosque] in Cordoba, the pavilion is a closed courtyard inside a park, within the city of London; a Russian doll of interiors. The pavilion’s polygonal structure creates three spaces – two smaller courtyards and a central one – constructed from porous walls and British roof tiles, creating a lattice.

Escobedo considered the final installation site of her pavilion, focusing on time, temporality and personal experience during the design process. Inspired by La Mezquita [The Mosque] in Cordoba, the pavilion is a closed courtyard inside a park, within the city of London; a Russian doll of interiors. The pavilion’s polygonal structure creates three spaces – two smaller courtyards and a central one – constructed from porous walls and British roof tiles, creating a lattice.

2016 – Francis Kéré: Kérélooked to village life for his design, and the notion of a paviliion as a shelter or meeting point. Supported by a light steel framed trunk, the structure has timber brise soleil eaves extending over like the canopy of a tree, creating a dappled light effect, while above, layers of clear polycarbonate panels shelter the internal space. Photography: Iwan Baan. Copyright: Kéré Architecture

2016 – Francis Kéré: Kérélooked to village life for his design, and the notion of a paviliion as a shelter or meeting point. Supported by a light steel framed trunk, the structure has timber brise soleil eaves extending over like the canopy of a tree, creating a dappled light effect, while above, layers of clear polycarbonate panels shelter the internal space. Photography: Iwan Baan. Copyright: Kéré Architecture

Four entrances naturally open up between the indigo walls, allowing a flow of people into the pavilion. The structure also paid respect to the British climate with rain water flowing from the polycarbonate roof, down into the central core where a waterfall will process water to be collected through drainage channels in the poured concrete. Photography: Iwan Baan. Copyright: Kéré Architecture

Four entrances naturally open up between the indigo walls, allowing a flow of people into the pavilion. The structure also paid respect to the British climate with rain water flowing from the polycarbonate roof, down into the central core where a waterfall will process water to be collected through drainage channels in the poured concrete. Photography: Iwan Baan. Copyright: Kéré Architecture

2016 – BIG: This year’s Serpentine pavillion, designed by Bjarke Ingels’ BIG, was built from extruded square tubes of glass fibre, reinforced and bolted together using hundreds of T-shaped aluminium brackets. Photography: Iwan Baan

2016 – BIG: This year’s Serpentine pavillion, designed by Bjarke Ingels’ BIG, was built from extruded square tubes of glass fibre, reinforced and bolted together using hundreds of T-shaped aluminium brackets. Photography: Iwan Baan

The wall of blocks is canted and sloped, rippled and twisted; playing with scale and creating a miniature realisation of the megastructural ziggurats the Danish studio is so adeptly building around the world. Photography: Iwan Baan

The wall of blocks is canted and sloped, rippled and twisted; playing with scale and creating a miniature realisation of the megastructural ziggurats the Danish studio is so adeptly building around the world. Photography: Iwan Baan

Accompanying the BIG pavilion are four 25 sq m summer houses created by Kunlé Adeyemi, Barkow Leibinger, Yona Friedman and Asif Khan. Pictured: Asif Khan’s cool, calm spiky ’temple’ is designed to align to the position of the sun on Queen Caroline’s birthday, like William Kent’s original... Photography: Iwan Baan

Accompanying the BIG pavilion are four 25 sq m summer houses created by Kunlé Adeyemi, Barkow Leibinger, Yona Friedman and Asif Khan. Pictured: Asif Khan’s cool, calm spiky ’temple’ is designed to align to the position of the sun on Queen Caroline’s birthday, like William Kent’s original... Photography: Iwan Baan

...Frank Barkow was explicit about the prototypical nature of Barkow Leibinger’s chunky curved wood extravaganza – ‘it has a resonance and will live beyond its four months here’, he says. Photography: Iwan Baan

...Frank Barkow was explicit about the prototypical nature of Barkow Leibinger’s chunky curved wood extravaganza – ‘it has a resonance and will live beyond its four months here’, he says. Photography: Iwan Baan

Yona Friedman’s contribution is a flexible modular structure which can be assembled and disassembled in a variety of ways... Photography: Iwan Baan

Yona Friedman’s contribution is a flexible modular structure which can be assembled and disassembled in a variety of ways... Photography: Iwan Baan

Kunlé Adeyemi’s structure is an inverse replica of Queen Caroline’s Temple, playing with its material space and form to create a new and exciting sculptural object Photography: Iwan Baan

Kunlé Adeyemi’s structure is an inverse replica of Queen Caroline’s Temple, playing with its material space and form to create a new and exciting sculptural object Photography: Iwan Baan

2015 – Smiljan Radić: The 2014 pavilion comprised a translucent, round shell made of glass-reinforced plastic, moulded in a ring shape that sat on boulders. It now resides at Hauser & Wirth SomersetPhotography: Iwan Baan

2015 – Smiljan Radić: The 2014 pavilion comprised a translucent, round shell made of glass-reinforced plastic, moulded in a ring shape that sat on boulders. It now resides at Hauser & Wirth SomersetPhotography: Iwan Baan

Soft light was filtered into the main, timber-floored area, thanks to the pavilion’s translucent shell, the construction of which was visible like the papier-mâché models Radić favours in the creative processPhotography: John Offenbach

Soft light was filtered into the main, timber-floored area, thanks to the pavilion’s translucent shell, the construction of which was visible like the papier-mâché models Radić favours in the creative processPhotography: John Offenbach

2013 – Sou Fujimoto: The pavilion for 2013 was designed by Japanese architect Sou Fujimoto Photography: Iwan Baan

2013 – Sou Fujimoto: The pavilion for 2013 was designed by Japanese architect Sou Fujimoto Photography: Iwan Baan

The 13th architect to design the summer pavilion for the Serpentine Gallery, Fujimoto described his aim to create a cloud-like construction that blended in with nature Photography: Iwan Baan

The 13th architect to design the summer pavilion for the Serpentine Gallery, Fujimoto described his aim to create a cloud-like construction that blended in with nature Photography: Iwan Baan

The pavilion featured an intricate composition of thin metal parts that created a white cloud-like mesh, covered in places with translucent panels to provide shelter for guests Photography: Iwan Baan

The pavilion featured an intricate composition of thin metal parts that created a white cloud-like mesh, covered in places with translucent panels to provide shelter for guests Photography: Iwan Baan

2012 – Herzog & de Meuron and Ai Weiwei: The 2012 pavilion was a collaboration, designed by Swiss architecture team Herzog & de Meuron and Chinese artist Ai Weiwei. It revealed the footprints of previous pavilions through an on-site excavation Copyright Herzog & de Meuron and Ai Weiwei. Photography: Iwan Baan

2012 – Herzog & de Meuron and Ai Weiwei: The 2012 pavilion was a collaboration, designed by Swiss architecture team Herzog & de Meuron and Chinese artist Ai Weiwei. It revealed the footprints of previous pavilions through an on-site excavation Copyright Herzog & de Meuron and Ai Weiwei. Photography: Iwan Baan

Herzog & de Meuron and Weiwei’s pavilion featured a reflective roof, which captured rainwater, and a low seating area underneath, clad in cork Copyright Herzog & de Meuron and Ai Weiwei. Photography: John Offenbach

Herzog & de Meuron and Weiwei’s pavilion featured a reflective roof, which captured rainwater, and a low seating area underneath, clad in cork Copyright Herzog & de Meuron and Ai Weiwei. Photography: John Offenbach

It also featured an auditorium for hosting events, such as the gallery’s annual two-day ‘marathon’ event Photography: John Offenbach

It also featured an auditorium for hosting events, such as the gallery’s annual two-day ‘marathon’ event Photography: John Offenbach

2009 – SANAA: A delicate, floating aluminium roof was the stand-out feature of the 2009 pavilion, designed by Kazuyo Sejima and Ryue Nishizawa of Japanese practice SANAA Photography: Nick Guttridge/VIEW

2009 – SANAA: A delicate, floating aluminium roof was the stand-out feature of the 2009 pavilion, designed by Kazuyo Sejima and Ryue Nishizawa of Japanese practice SANAA Photography: Nick Guttridge/VIEW

A series of slim metal columns support the reflective canopy Photography: James Newton/VIEW

A series of slim metal columns support the reflective canopy Photography: James Newton/VIEW

2008 – Frank Gehry: In 2008, US-based architect Frank Gehry collaborated with his son, Samuel Gehry for the first time, for the Serpentine Pavilion. Photography: John Offenbach

2008 – Frank Gehry: In 2008, US-based architect Frank Gehry collaborated with his son, Samuel Gehry for the first time, for the Serpentine Pavilion. Photography: John Offenbach

Gehry’s first-built structure in England, the 2008 pavilion was a composition of timber planks, steel columns and glass planes. Photography: John Offenbach

Gehry’s first-built structure in England, the 2008 pavilion was a composition of timber planks, steel columns and glass planes. Photography: John Offenbach

2007 – Olafur Eliasson and Kjetil Thorsen: A collaboration between artist Olafur Eliasson and Norwegian architect Kjetil Thorsen of Snohetta, the 2007 pavilion was clad in timber, while its top appeared to spin. Photography: John Offenbach

2007 – Olafur Eliasson and Kjetil Thorsen: A collaboration between artist Olafur Eliasson and Norwegian architect Kjetil Thorsen of Snohetta, the 2007 pavilion was clad in timber, while its top appeared to spin. Photography: John Offenbach

The timber-clad interior of the 2007 pavilion was ‘an exploration of vertical circulation’. Photography: Deborah Bullen

The timber-clad interior of the 2007 pavilion was ‘an exploration of vertical circulation’. Photography: Deborah Bullen

2006 – Rem Koolhaas and Cecil Balmond: Rem Koolhaas and Cecil Balmond united with Arup to create a pavilion constructed from a helium-filled roof that rose and fell with the changes in weather Photography: John Offenbach

2006 – Rem Koolhaas and Cecil Balmond: Rem Koolhaas and Cecil Balmond united with Arup to create a pavilion constructed from a helium-filled roof that rose and fell with the changes in weather Photography: John Offenbach

The pavilion’s unusual shapes created an ever-changing play of light and shadow inside the structure Photography: Sylvain Deleu. Courtesy Taschen

The pavilion’s unusual shapes created an ever-changing play of light and shadow inside the structure Photography: Sylvain Deleu. Courtesy Taschen

2001 – Daniel Libeskind:‘Eighteen Turns’ was designed by architect Daniel Libeskind, with Arup and exhibited the signature metallic, reflective forms for which the architect became known Photography: Stephen White. Courtesy Taschen

2001 – Daniel Libeskind:‘Eighteen Turns’ was designed by architect Daniel Libeskind, with Arup and exhibited the signature metallic, reflective forms for which the architect became known Photography: Stephen White. Courtesy Taschen

The anglular metal pavilion, clad in aluminium panels was reminiscent of a giant piece of origami Photography: Helene Binet

The anglular metal pavilion, clad in aluminium panels was reminiscent of a giant piece of origami Photography: Helene Binet

2000 – Zaha Hadid: The very first Serpentine Gallery Pavilion was created in 2000 and designed by London-based architect Zaha Hadid Photography: Helene Binet

2000 – Zaha Hadid: The very first Serpentine Gallery Pavilion was created in 2000 and designed by London-based architect Zaha Hadid Photography: Helene Binet

Hadid’s white geometric pavilion with is triangulated roof structure was a reinvention of the marquee and spanned 600 sqm Photography: Helene Binet

Hadid’s white geometric pavilion with is triangulated roof structure was a reinvention of the marquee and spanned 600 sqm Photography: Helene Binet

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